We had lunched at the Grundewald. We rose with a certain deliberation, and walked toward the Molo. The band was thundering out a Strauss waltz. The Piazza6 was filled with its usual laughing, chattering7 crowd, eating and drinking at the hundreds of round little tables that overflowed8 a quarter of the square.
I could not help thinking what a sensation I should cause if the great throng9 was suddenly to be stilled, while from the balcony up there by the four bronze horses I cried aloud for all the square to hear that we two adventurers of the twentieth century were about to lay bare one of the mysteries of Venice–that we were to bring forth to the light of day a marvelous treasure 201that had been hid for nearly half a thousand years. How they would howl me into a shamed silence with their jeers10 and laughter! And supposing that I could tell them the very hiding-place, would one of all those hundreds, even the poorest, take the trouble to go and see? Would the hunchbacked bootblack in the Arcade11 there, gnarled and twisted with the cold of winter and the heat of summer? Would the Jewish shopkeepers, the antiquarian in the library, the tourists, who had come three thousand miles to feast their eyes on wonders? Not the most visionary would stir in his seat. Only St. Hilary and I, it appeared, in the whole world were absolute fools this afternoon.
“E dove?” demanded the gondolier, after we had taken our seats.
“Canalazzo,” I cried, “e presto12, molto, molto presto.”
“Si, si, signore,” he cried with enthusiasm, scenting13 a generous tip.
The sun, just dipping behind the dome14 of the Salute15, blazed fiercely, but the awning16 of our gondola was thrown back. Swiftly we swept down the sun-kissed stream, cleaving17 the lake of gold. The great palaces on either side, ablaze18 with riotous19 color, seemed as unreal as a painted picture. What had we to do with this mysterious 202Venice, this enchantress of the seas, holding herself aloof20 in melancholy21 disdain22? Like curious savages23, we were to prowl in her very holy of holies. We were to despoil24 her of her last glorious treasure, that she had guarded so jealously these hundreds of years.
The fantasy burst as a bubble in thin air. Behind us raced a boatful of trippers, the two oarsmen exerting every effort to urge on their craft to the railway station. There were the English père de famille; the comfortable mamma with a chick on either side. And about them were piled high bandboxes and shawls, portmanteaus and carryalls. It was the twentieth century after all. It was quite fitting that we should be seeking to reap where we had not sown.
We passed the Grand Hotel. Mrs. Gordon, Jacqueline, and the duke were seated on the balcony. I raised my hat mechanically. The duke returned the greeting with a flourish. Mrs. Gordon was suddenly interested in the customs-house opposite. Jacqueline smiled, but her greeting would have been as cordial to the concierge27 of her hotel. My face burned. I wished to tell St. Hilary to continue the search without me, and yet I hesitated. Even now, one nod to the gondolier and I could be landed at the steps; but I 203hesitated, and in five seconds we had passed. Before I had wholly recovered my presence of mind we were at the Rio di Bocca.
Our gondolier uttered his weird28 cry of warning. The gondola turned the corner sharply. We were in cool depths. The smell of damp mortar29, that indefinable moist smell of the canaletti of Venice smote30 our nostrils31. We skirted an old wall, bulging32 outward with decrepitude33; a narrow quay34, bathed in sunlight; the barred windows of a palace, blackness and gloom within. A barge35 of bricks was poled slowly past us, then a funeral catafalque. A hotel omnibus just escaped collision. I saw it all, but I saw it all unheeding. Three years of selfish ease and irresponsibility had left me incapable36 of quick decision at this critical moment. And now another opportunity to become reconciled to Jacqueline had passed. I had raised one more barrier between us.
St. Hilary shouted sharply to the gondolier. We came to a sudden stop.
We were at the sixtieth palace, and its fa?ade was as bare as the sheet of an unsigned hotel register.
“So again we have come on a fool’s errand,” he groaned37.
The gondolier leaned forward and touched my 204sleeve. He had observed our perplexity. He pointed38 to a palace we had just passed.
“Ecco, Signori, the House of the Angel! It is not this one. It is the third back.”
“The third back?” I repeated mechanically. I let my glance follow his outstretched finger. With a twist of the oar26 he had turned the gondola again toward the Grand Canal.
“Behold, Signore, the House of the Angel. Up there, in the niche39 over the door.”
I raised my eyes dully. I had no idea what the man was talking about. The palace at whose steps we had halted was a magnificent structure of the fourteenth century, so beautiful that in any other city than Venice it would have been worth a pilgrimage to see. Over the doorway40 was a triangular41 niche, a kind of shrine42. A half figure of an angel was carved in the niche, and a kneeling child looked quaintly43 up into the angel’s face. The gondolier pointed to the shrine reverently44.
“The angel is to drive away the evil spirits, Signore. The evil spirit of a pig once dwelt in this beautiful palace. I assure the Signore that I am telling him the truth, though there are many hundreds of years since the evil soul of the pig was conjured45 away by the angel and the little child. The house is now sweet and clean of all 205evil, and is called the House of the Angel. But look, Signore, you can see the unclean pigs that were carved in the wall by the wicked builder. Before they were broken, the house was called the House of the Pigs.”
We looked upward.
The house had a frieze46 made of a capriciously carved array of pigs. The posture47 of each two of the creatures was the same: the one recumbent, the other erect48. The heads and the feet and most of the bodies had been stricken off.
“It is very simple,” cried St. Hilary exultingly49. “Our husks of corn have simply become the bodies of pigs. We have found the second landmark50.”
He held the photograph of the background of the second hour before me. That background, it will be remembered, was a hanging, and on this hanging a decorative51 scheme that we had supposed to be husks of corn.
I forgot my folly52 in passing Jacqueline, and her cold greeting. Here was proof indisputable that we were really on the track of the casket at last.
“But why,” queried53 St. Hilary, knitting his forehead in perplexity, “should it be the fifty-seventh palace, and not the sixtieth?”
I opened the Bible, and again read the story. 206I saw our mistake immediately. In our haste to test this new theory of mine we had not read the narrative54 with sufficient care.
“There is another verse that we have omitted to read. It follows immediately after.” I read it aloud:
And within three days they could not declare the riddle55.
“You observe the expression ‘within.’ That is to say, we were not to look for the sixtieth palace, but for the fifty-seventh, or the third within sixty.”
“Ah, that is quite clear,” cried St. Hilary with a sigh of relief. “And now for the next landmark. Read your passage of the second hour again.”
And there went forth a champion out of the camp of the Philistines56, named Goliath, whose height was six cubits and a span.
“Six cubits and a span,” he mused57. “What the deuce are the six cubits and a span?”
“Let us look around.” I motioned to the gondolier to rest on his oars25.
We drifted slowly past the House of the Angel. The next house was a warehouse58–an ugly four-story building, set some five paces back. The upper stories projected over the lowest story, and were supported by pillars.
207“There are six of those pillars, and there is a door. Can that be your cubits and a span?”
I shook my head. “Those pillars are of wood. This warehouse could not have been built when the goldsmith made his casket.”
“True; and it would be a senseless proceeding59 to lead us past the fifty-seventh palace, only to land us at the fifty-eighth.”
“But look, St. Hilary, we have been so close to the forest that we have failed to see the trees. Do you observe those circular windows just over our heads? There are just six of them. As for the span, isn’t a span half a cubit? The top of that squat60 door let into the wall there is semi-circular in shape; the semi-circle, the exact counterpart of the upper part of the windows. Nothing could be more clear.”
“My only fear is that it is too clear to be true,” he said anxiously.
“We shall soon determine that.”
I stood upright on the seat of the gondola, and, reaching forward, pulled a rusty61 bell that hung beside the low door. Our gondola, at a sign from me, had been rowed up stream once more.
In response to my vigorous summons a servant appeared at the main door of the House of the Angel.
208“What may the Signori desire?” he inquired.
“We are architects,” lied St. Hilary glibly62. “We are very desirous to see your garden. We understand that it is a very curious old garden.”
The servant in the shabby livery shook his head.
“The Signori Inglesi are mistaken,” he answered politely. “The interesting garden belongs to the House of the Camel just behind this palazzina. Our garden has only artichokes and asparagus and beans and things.”
“The House of the Camel!” I exclaimed involuntarily.
St. Hilary pinched my arm for silence. “But there is a passage through your garden that leads to the garden of the other house, is there not?”
He jingled63 insinuatingly64 some loose coins in his pocket.
“Ah, yes, Signore, that is true. A long, long time ago, a great nobleman, dwelt in this house, and his daughter lived in the house behind. He had a gate made in the wall that divides the two gardens. The gate is still there.”
“Excellent! And you will lead us into the garden of the House of the Camel by that gate?”
Without further parley65, St. Hilary leaped lightly ashore66. I followed his example, and tossed our fare to the gondolier.
209“Thoughtful of you to send off that chap. We can’t be too careful,” remarked St. Hilary as we followed the servant in the shabby livery into the hall.
This hall, as in all Venetian palaces, ran through the house from front to rear. At its end was a glass door. The door unlocked, we were in the garden. A path turned to the right, joining a broad walk fringed with a well-trimmed hedge of box. This walk led straight to the gate–our gate of the third hour. There was no need to refer to the photograph. It was unmistakable.
“The Signori are of course expected?” asked the servant hesitatingly, as he unlocked this gate.
“Naturally,” replied St. Hilary, dropping a piece of silver in his palm.
The gate was locked behind us.
“How are we to find our way out?” I demanded.
St. Hilary was staring about him as one who knows his ground.
“My dear Hume,” he grinned, “I know my way out perfectly67. Allow me to point out to you the Well of the Pomegranates and the Loops, and immediately over the doorway there the Sign of the Blind Camel. We are at the landmark of the fourth hour.”
“And the ten figures on the disks of the third 210hour are represented by these busts68 built in the wall–five in either wall. We are getting on. But why, I wonder, did da Sestos lead us to this landmark by the way of the House of the Angel? He might have brought us here directly by the Campo San Salvatore.”
“Because,” commented St. Hilary, “the way by land would have necessitated69 a dozen directions. By water we have come without undue70 perplexity in three. But here, I am afraid, our voyage of discovery must end for to-night. We shall have to puzzle out the fifth hour before we can go farther.”
I had opened the Bible that I had brought with me from the gondola, and, supported by the curb71 of the well, I rested it on my knee, turning to the Book of Genesis. I read the verse of the fourth hour:
And it came to pass, as the camels had done drinking at the well, that the man took a golden earring72 of half a shekel weight, and two bracelets73 for her hands of ten shekels’ weight of gold.
“This is obscure enough,” I said ruefully. “This jargon74 of a golden earring and of half a shekel weight and two bracelets of ten shekels’ weight will take some time to reason out, especially as we have no idea what to look for.”
“And I think.” St. Hilary remarked, “we are 211to be interrupted. Here comes one of the priests of the seminary to see what business we have in his garden.”
“Gentlemen,” asked the padre politely, as we bowed with an assurance that belied75 my feelings at least, “you are looking for some one? I saw you admitted a moment ago by the gate yonder.”
“Yes,” boldly lied St. Hilary once more. “We were about to ring your bell. We went to the House of the Angel by mistake. We are architects, and we have heard that you have a wonderful old dial. We are making a study of the curious dials of Venice. Would you show us yours?”
St. Hilary’s question was not so idle as might appear. He was ignoring the existence of the fifth landmark, and was asking for the sixth landmark, which we had identified in this way. The Venetian scene of the sixth hour, it will be remembered, was that of the Doge and the poet Petrarch seated in the balcony of San Marco, overlooking the Piazza, and watching the festivities below, symbolized76 by the dancing automaton77 figure, that advanced ten steps to the front and ten to the rear. The parallel story in the Bible we had found by a rather roundabout process. Some days before I had accidentally made the discovery that the face of the 212Doge bore a remarkable78 resemblance to the prophet Isaiah as depicted79 in one of the mosaics80 of San Marco. Naturally, then, when we hunted up the Biblical stories of the hour, after my return from church, we looked for a story in which the prophet Isaiah figured as one of the characters. The concordance at the back of my Oxford81 Bible referred us to the story of the Jewish King Hezekiah, who, sick unto death, went to the prophet Isaiah for a sign that he should recover his strength. And this was the verse:
And Hezekiah said to Isaiah, What shall be the sign? And Isaiah said, Shall the shadow of the dial go back ten degrees or shall the shadow go forward?
The little automaton figure advancing and retreating ten steps symbolized plainly the going forward and backward of the shadow. This was significant in itself, and might have made us tolerably sure that a dial was to be the landmark. But when, in the light of this story, we looked carefully at the railing of the balcony as photographed in our snap-shot, we noticed at once that the ironwork of the railing was of intertwined circles, intersected by diameters drawn82 through each of their centers. The circles, then, stood for the dial; the diameter, for the needle of the 213dial. We might be reasonably certain that our search would be narrowed to more and more defined limits. Even without the landmark of the fifth hour, by which we should be able to discover the locality of the dial for ourselves (provided always that we could interpret the numbers aright), it was not an extravagant83 hope of St. Hilary’s that the padre might direct us to the landmark of the sixth hour. I waited breathlessly for his answer. Let the gods be propitious84; let fortune smile!
The gaunt but handsome face of the young priest was lighted up with a charming smile.
“But it will be an honor,” he said, “to show our curious dial to the American gentlemen.”
“English, pardon me,” corrected St. Hilary readily, and he pinched my arm. “We leave Venice for London in an hour or so. This is the last and most curious dial we expect to see.”
What a polished and delightful85 liar86 the dealer87 in antiquities88 was! But a cautious one withal. For aught we knew, we might be prowling about these premises89 with a jimmy and dark lantern before many more moons, and it might be convenient to prove an alibi90.
I had expected the priest to lead us to an obscure corner of the garden. To my surprise and disappointment he took us directly to the 214house. Of what use could a dial be under a roof? The good fathers of the seminary had taken it from the garden, in all likelihood, and placed it within doors as an interesting curiosity for their pupils to gape91 at.
“Perhaps you know, gentlemen,” said the priest, as he led the way up a broad and dreary92 stairway, devoid93 of ornament94, but scrupulously95 clean, “that this was once the house of the Venetian astrologer, Jacopo Bembo. Here, some two hundred years ago, came the flower of the Venetian aristocracy. They came to consult him–one for a love philter; another for a talisman96 against the plague; another, perhaps, for a deadly potion to still the beating of a rival’s heart. Some strange and dark scenes, I suspect, have taken place in the laboratory of Messer Bembo. And this is it.”
We had ascended97 to the third story. He threw open the door of a large room. There were some maps on the wall, desks, and chairs. It was evidently used now as a school-room.
“But the dial?” I cried impatiently.
“Oh, the dial is on the roof. Have you ever heard of a dial being in so strange a place before?”
“It is precisely98 that,” I cried joyously99, “that makes it so unique in interest for us.”
215“And this dial on the roof will make our collection of curious dials quite complete,” added St. Hilary gravely.
We walked a few steps down the echoing landing. The worthy100 padre opened a door. A narrow wooden stairway led to the roof.
“If you will pardon me, I will precede you, gentlemen. There is a trapdoor at the top.”
“And did the great astrologer Bembo have to climb out of that hole whenever he wished to consult the hour of day?” I asked jocosely101.
“You will see,” answered the priest smiling.
When first we stepped out on the roof, the glitter of the fierce sun on the leads blinded us. We looked in vain for the dial. The priest walked to the parapet where a stone bench stood and pointed to a large circle cut deep in the leads at the foot of the bench.
“Ecco, Signori, your curious dial, and the Signs of the Zodiac also. The needle of the dial is not the truly original one. That was broken long ago. But the one we have replaced it with is precisely similar to the antique.”
St. Hilary and I sank on our knees to observe it the more closely and to whisper to each other without the good father overhearing us. The dealer traced a line tremblingly with his forefinger102.
216“Here,” he whispered, “is where the shadow falls at twelve o’clock. Ten degrees before that, it must point in this direction.”
He squinted103 along the imaginary line. It led him over the parapet, and in either direction it directed us to nothing more definite than the blue sky.
“But at ten degrees after twelve,” I whispered hoarsely104, “it points with absolute directness to that square tower, the tower of Noah and his dove, depend upon it. We have found the seventh landmark.”
We stood upright and brushed the dust from our knees. St. Hilary produced a note-book, and began to scribble105 notes and to sketch106 the dial with every show of professional interest.
“Yes, it is a great curiosity, this dial,” purred the priest with satisfaction. “Here, in the cool of summer nights, when the sirocco has been blowing all day, I often come to sit and ponder the issues of life and death, as, no doubt, the old astrologer did before me.”
“You have a splendid view,” I remarked carelessly. “What is that square tower over there? It appears to be the tower of a palace.”
“Yes, signore, it is the tower of the Palazzo C?sarini. If you are architects, you ought to see that palace. It is full of interest.”
217“The C?sarini Palace, you said, I think?” inquired St. Hilary, still scribbling107.
“Exactly, and it is known popularly as the Palazzo degli Scrigni.”
“The Palace of the Iron Safes!” I cried, startled.
“The signori Inglesi must understand that, very long ago, when the house of the C?sarini was the most powerful in Venice, as it still is one of the richest, the Prince C?sarini had two great iron safes built in the walls of his cellars to keep his treasure in. These safes were contrived108 by a certain goldsmith called da Sestos. Yes, the palace is worth seeing. But do not attempt to see it until after Wednesday, because a grand bal masqué is to be given on that evening, and they are busy making great preparations.”
“Ah, yes, we must have a look at it some time,” said St. Hilary carelessly. “A thousand thanks for your courtesy, father. Buona sera.”
“Buona sera, signori.”
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1
toiling
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| 长时间或辛苦地工作( toil的现在分词 )； 艰难缓慢地移动，跋涉 | |
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imbued
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| v.使（某人/某事）充满或激起（感情等）( imbue的过去式和过去分词 )；使充满；灌输；激发（强烈感情或品质等） | |
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forth
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| adv.向前；向外，往外 | |
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prosaic
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| adj.单调的，无趣的 | |
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5
gondola
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| n.威尼斯的平底轻舟；飞船的吊船 | |
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piazza
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| n.广场；走廊 | |
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7
chattering
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| n. （机器振动发出的）咔嗒声，(鸟等)鸣，啁啾 adj. 喋喋不休的，啾啾声的 动词chatter的现在分词形式 | |
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8
overflowed
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| 溢出的 | |
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throng
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| n.人群，群众；v.拥挤，群集 | |
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10
jeers
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| n.操纵帆桁下部（使其上下的）索具；嘲讽( jeer的名词复数 )v.嘲笑( jeer的第三人称单数 ) | |
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11
arcade
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| n.拱廊；(一侧或两侧有商店的)通道 | |
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presto
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| adv.急速地；n.急板乐段；adj.急板的 | |
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13
scenting
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| vt.闻到（scent的现在分词形式） | |
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dome
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| n.圆屋顶，拱顶 | |
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15
salute
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| vi.行礼，致意，问候，放礼炮；vt.向…致意，迎接，赞扬；n.招呼，敬礼，礼炮 | |
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16
awning
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| n.遮阳篷；雨篷 | |
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17
cleaving
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| v.劈开，剁开，割开( cleave的现在分词 ) | |
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ablaze
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| adj.着火的，燃烧的；闪耀的，灯火辉煌的 | |
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riotous
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| adj.骚乱的；狂欢的 | |
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aloof
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| adj.远离的；冷淡的，漠不关心的 | |
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melancholy
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| n.忧郁，愁思；adj.令人感伤（沮丧）的，忧郁的 | |
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disdain
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| n.鄙视，轻视；v.轻视，鄙视，不屑 | |
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savages
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| 未开化的人，野蛮人( savage的名词复数 ) | |
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despoil
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| v.夺取，抢夺 | |
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oars
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| n.桨，橹( oar的名词复数 )；划手v.划（行）( oar的第三人称单数 ) | |
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26
oar
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| n.桨，橹，划手；v.划行 | |
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27
concierge
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| n.管理员；门房 | |
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28
weird
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| adj.古怪的，离奇的；怪诞的，神秘而可怕的 | |
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29
mortar
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| n.灰浆，灰泥；迫击炮；v.把…用灰浆涂接合 | |
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30
smote
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| v.猛打，重击，打击( smite的过去式 ) | |
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31
nostrils
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| 鼻孔( nostril的名词复数 ) | |
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32
bulging
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| 膨胀； 凸出（部）； 打气； 折皱 | |
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33
decrepitude
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| n.衰老；破旧 | |
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34
quay
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| n.码头，靠岸处 | |
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barge
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| n.平底载货船，驳船 | |
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36
incapable
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| adj.无能力的，不能做某事的 | |
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groaned
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| v.呻吟( groan的过去式和过去分词 )；发牢骚；抱怨；受苦 | |
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38
pointed
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| adj.尖的，直截了当的 | |
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39
niche
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| n.壁龛；合适的职务(环境、位置等) | |
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40
doorway
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| n.门口，(喻)入门；门路，途径 | |
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41
triangular
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| adj.三角（形）的，三者间的 | |
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42
shrine
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| n.圣地，神龛，庙；v.将...置于神龛内，把...奉为神圣 | |
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43
quaintly
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| adv.古怪离奇地 | |
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44
reverently
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| adv.虔诚地 | |
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45
conjured
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| 用魔术变出( conjure的过去式和过去分词 )； 祈求，恳求； 变戏法； （变魔术般地） 使…出现 | |
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46
frieze
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| n.(墙上的)横饰带，雕带 | |
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posture
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| n.姿势，姿态，心态，态度；v.作出某种姿势 | |
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erect
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| n./v.树立，建立，使竖立；adj.直立的，垂直的 | |
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exultingly
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| 兴高采烈地，得意地 | |
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50
landmark
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| n.陆标，划时代的事，地界标 | |
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decorative
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| adj.装饰的，可作装饰的 | |
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folly
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| n.愚笨，愚蠢，蠢事，蠢行，傻话 | |
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queried
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| v.质疑，对…表示疑问( query的过去式和过去分词 )；询问 | |
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54
narrative
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| n.叙述，故事；adj.叙事的，故事体的 | |
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riddle
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| n.谜，谜语，粗筛；vt.解谜，给…出谜，筛，检查，鉴定，非难，充满于；vi.出谜 | |
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56
philistines
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| n.市侩，庸人( philistine的名词复数 )；庸夫俗子 | |
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mused
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| v.沉思，冥想( muse的过去式和过去分词 )；沉思自语说（某事） | |
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58
warehouse
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| n.仓库；vt.存入仓库 | |
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59
proceeding
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| n.行动，进行，(pl.)会议录，学报 | |
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squat
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| v.蹲坐，蹲下；n.蹲下；adj.矮胖的，粗矮的 | |
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rusty
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| adj.生锈的；锈色的；荒废了的 | |
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62
glibly
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| adv.流利地，流畅地；满口 | |
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63
jingled
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| 喝醉的 | |
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insinuatingly
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parley
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| n.谈判 | |
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ashore
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| adv.在(向)岸上，上岸 | |
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perfectly
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| adv.完美地，无可非议地，彻底地 | |
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busts
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| 半身雕塑像( bust的名词复数 )； 妇女的胸部； 胸围； 突击搜捕 | |
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necessitated
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| 使…成为必要，需要( necessitate的过去式和过去分词 ) | |
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undue
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| adj.过分的；不适当的；未到期的 | |
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curb
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| n.场外证券市场，场外交易；vt.制止，抑制 | |
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earring
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| n.耳环，耳饰 | |
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bracelets
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| n.手镯，臂镯( bracelet的名词复数 ) | |
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jargon
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| n.术语，行话 | |
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belied
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| v.掩饰( belie的过去式和过去分词 )；证明（或显示）…为虚假；辜负；就…扯谎 | |
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symbolized
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| v.象征，作为…的象征( symbolize的过去式和过去分词 ) | |
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automaton
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| n.自动机器，机器人 | |
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remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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depicted
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| 描绘，描画( depict的过去式和过去分词 )； 描述 | |
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mosaics
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| n.马赛克( mosaic的名词复数 )；镶嵌；镶嵌工艺；镶嵌图案 | |
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Oxford
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| n.牛津（英国城市） | |
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82
drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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extravagant
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| adj.奢侈的；过分的；(言行等)放肆的 | |
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84
propitious
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| adj.吉利的；顺利的 | |
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85
delightful
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| adj.令人高兴的，使人快乐的 | |
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86
liar
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| n.说谎的人 | |
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dealer
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| n.商人，贩子 | |
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88
antiquities
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| n.古老( antiquity的名词复数 )；古迹；古人们；古代的风俗习惯 | |
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premises
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| n.建筑物，房屋 | |
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alibi
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| n.某人当时不在犯罪现场的申辩或证明；借口 | |
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gape
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| v.张口，打呵欠，目瞪口呆地凝视 | |
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92
dreary
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| adj.令人沮丧的，沉闷的，单调乏味的 | |
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devoid
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| adj.全无的，缺乏的 | |
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94
ornament
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| v.装饰，美化；n.装饰，装饰物 | |
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scrupulously
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| adv.一丝不苟地；小心翼翼地，多顾虑地 | |
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96
talisman
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| n.避邪物，护身符 | |
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97
ascended
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| v.上升，攀登( ascend的过去式和过去分词 ) | |
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98
precisely
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| adv.恰好，正好，精确地，细致地 | |
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99
joyously
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| ad.快乐地, 高兴地 | |
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100
worthy
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| adj.(of)值得的，配得上的；有价值的 | |
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101
jocosely
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| adv.说玩笑地，诙谐地 | |
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102
forefinger
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| n.食指 | |
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103
squinted
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| 斜视( squint的过去式和过去分词 )； 眯着眼睛； 瞟； 从小孔或缝隙里看 | |
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104
hoarsely
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| adv.嘶哑地 | |
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105
scribble
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| v.潦草地书写，乱写，滥写；n.潦草的写法，潦草写成的东西，杂文 | |
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106
sketch
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| n.草图；梗概；素描；v.素描；概述 | |
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107
scribbling
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| n.乱涂[写]胡[乱]写的文章[作品]v.潦草的书写( scribble的现在分词 )；乱画；草草地写；匆匆记下 | |
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108
contrived
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| adj.不自然的，做作的；虚构的 | |
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